Alternative Rockers Prove to Be Top Picks : County Bands Far Surpass the Run-of-the-Mill Product That the Music Industry Churns Out

Willing to peer into the shadows cast southward by the music business bastion of Los Angeles? You would have found something interesting in Orange County during 1988: more than 20 albums released by local pop and rock performers.

They include a few established, mass-audience acts such as Stacey Q and Stryper, but the greater weight--in numbers and merit--lies with alternative rockers who sought to establish or buttress cult followings with releases on smaller, independent labels.

Most of the records reviewed below--especially those in the local “Top 10”--far surpass the run-of-the-mill product that the music industry routinely churns out. There could be some answers here for stumped holiday shoppers whose gift lists include music fans with adventurous tastes.

The Top 10 (in no particular ranking)

The Adolescents, “Balboa Fun Zone” (Triple X) and Social Distortion, “Prison Bound” (Restless/Sticky Fingers). This was the year the county punks grew up. Both bands started out together in Fullerton about a decade ago; with these releases, each found new resources of melody and instrumental skill, as well as the maturity to look back on their wilder, younger days with a new sense of perspective. No loss in firepower, though: the Adolescents rocked behind Rikk Agnew’s slashing but focused guitar assaults, while Social Distortion etched singer Mike Ness’ troubled tales in an impressive, rolling wall of sound. Not a slack song on either album--and there are parallels in thought and experience between them that confirm the honesty and truthfulness of each band. Two musts for anyone who cares about punk-influenced rock, these fine albums promise for the future as much as they deliver in the present. Kudos to producer Chaz Ramirez, who recorded both albums at his Casbah Studio in Fullerton.

The Wild Cards, “Cool Never Cold” (Dali/Chameleon). The question was whether a band known for zestful live shows could re-create that verve on record. The Wild Cards pass the test with a skillful, high-energy weave of shifting styles that takes them from ‘40s jump swing to blues and R&B; to roots rock to Latin salsa. Adrian Remijio’s accomplished guitar playing and husky, emotive lead vocals provide the glue, and there’s sharp ensemble singing from all four band members. Lyricist Kent Wilson offers closely observed glimpses of relationships hitting a crossroads and veering onto the wrong track.

James Harman Band, “Extra Napkins” (Rivera). The county’s leading blues exponents sound here as if they have found a time warp and landed on the south side of Chicago, circa 1955. Not a hint of stuffy reverence, though. Harman and a large, capable cast that includes the late renowned guitarist Hollywood Fats are celebrators, not curators, of the traditional-sounding blues: Every note registers the performers’ pleasure. And forget what KROQ thinks dance music is. This is dancing music . Harman says there are several extra album-helpings yet to come from the sessions that produced “Extra Napkins.” It’s also worth noting that “Those Dangerous Gentlemens,” the Harman band’s excellent rock-oriented album on Rhino Records, was a late-’87 release that just missed giving Harman two hits on this list. Nevertheless, it would be a good addition to gift lists that include fans of roots rock.

National People’s Gang, “The Hard Swing” (Dr. Dream). The general rule is to beware of Americans who sound British, but there are always exceptions. National People’s Gang’s debut album is a volatile swirl of creativity drawing upon the David Bowie/Bryan Ferry school of theatrical rock. Equally at home with crazed rockers and pretty, airy love songs, NPG is a good bet for fans of such current Brit heroes as the Smiths and the Cure. But this is no copycat band: Its songs offer an appealing, personalized mix of irony and idealism, and the lineup includes two distinctive talents in singer Chad Jasmine and guitarist Chad Forrello. If they were British, there’s little doubt that National People’s Gang would be the next big thing.

Ann De Jarnett, “Possessions” (Dr. Dream). De Jarnett is an outstanding talent, both as a singer and a violinist. Her gifts as a melodist are evident throughout the album. Her band, the Falcons, backs her with textured, well-crafted playing. At times, it would have been better if De Jarnett and the Falcons had set aside that craftsmanship and unleashed more unharnessed power. Still, “Possessions” is an uncommonly rich and engaging album full of songs that stay in the mind.

The Pontiac Brothers, “Johnson” (Frontier). Who would have thought that Fullerton would be the musical midpoint between the Replacements’ Minneapolis and the Rolling Stones’ London? It may not work on the map, but it certainly works on vinyl, tape or disc, as one of the most highly regarded rock bands in the county cranks out another album of raw, insistent rock ‘n’ roll. The Pontiacs’ sound is largely borrowed, but it’s classic: a charged Stones-like attack that is familiar but never tiresome. Individuality comes through in the sense of humor and force of feeling the Pontiacs bring to songs about romantic disasters and the anxieties and vicissitudes of the economically marginal life of an independent-label rock band.

The Swamp Zombies, “Chicken Vulture Crow” (Dr. Dream/Out There). A strange, often-hilarious acoustic brew that digests music from the folk boom of the late 1950s and early ‘60s but spits it out in a rough-and-tumble fashion informed by punk rock. The Swamp Zombies get mixed results when dabbling in politics and doing curio cover songs, but they take off with funny, sardonic tales that could have come from a “Far Side” comic. Their playing can sound like organized clatter, but the Swamp Zombies carry the day with a palpable sense of fun.

Tender Fury, “Tender Fury” (Posh Boy/Chameleon). This is pounding but catchy hard rock with few tender sentiments. Singer Jack Grisham’s dominant subject is retribution against wrongdoing women. Grisham doesn’t go in for vulgarity and brutish sexism, though: Realism and wryness alternately save the day. Grisham’s sense of humor keeps his exaggeratedly stagy vocals from seeming too affected and overbearing, while Daniel Root’s hard-hitting, concise guitar lines keep the songs on track.

Mike Stand, “Do I Stand Alone” (Alarma). Sanctimony and hypocrisy have given evangelical Christianity a bad name, but Stand is a Christian rocker who dispenses with easy answers and smug affirmations and bares his doubts in an earnest, deeply felt song cycle. This is a solo album for the throaty singer, who also fronts the Altar Boys, a Christian hard-rock trio. The backing here is solid, often tending toward a Tom Petty style of muscular folk-rock. No dogma for sale here--just pleading, questioning songs that cut across sectarian boundaries.

Other releases:

Bardeux, “Bold As Love” (Synthicide) and Stacey Q, “Hard Machine” (Atlantic). County producer Jon St. James specializes in nicely crafted dance-pop. Both of these are likable, catchy records that work as consumable candy-fluff but don’t offer much deeper nourishment.

El Grupo Sexo, “Up Periscope” (Dr. Dream/Chameleon). One of the most promising local bands, Sexo suffered an acrimonious breakup before this album, their second, was released. While the singing and songwriting are uneven, the band’s irreverent humor and horn-driven instrumental acuity shine with a sharp blend of rock and funk.

TSOL, “TSOL Live” (Restless). This CD-only release captures the veteran punk-band-turned-hard-rock-outfit in concert at the Coach House. A raw, forceful show (especially toward the end), but the material and performances ultimately suffer from a lack of variety.

Bill Medley, “Best of Bill Medley” (MCA/Curb). A hodgepodge combining Medley’s recent movie-theme work with new versions of rock/R&B; oldies. Most of the theme music is dismissable, high-gloss stuff (aside from the inevitable “Dirty Dancing” theme), but Medley starts cooking when he turns to soul and old-time rock ‘n’ roll.

The Movement, “Waiting for You” (Tugg Records). Polished, mainstream rock with British influence. While there’s nothing original in the Movement’s approach, the San Clemente band offers well-honed performances and a good knack for a melodic hook.

Mind Over 4, “Out Here” (Triple X). Operatic thrash metal meets art rock in an unusual blend that doesn’t quite hold together on the band’s debut. More structure and melody would help, but strong musicianship and intelligent ideas offer promise.

Metal MC, “Born to Party” (Synthicide). Rap vocals over well-executed heavy-metal rock. Fun in small doses, especially on the 12-inch single, “Sink or Swim,” but the unvarying frat-rock, party attitude grows wearisome.

Altar Boys, “Against the Grain” (Frontline). Christian rock with a big, anthemic sound that often resembles the Alarm. Capably played but lacking the depth and personal dimension that come across on lead singer Mike Stand’s solo album.

Stryper, “In God We Trust” (Enigma). Stryper was the only county band to make the Top 40 on Billboard’s album chart in 1988. (Bardeux scored a Top 40 single.) The Christian heavy-metal band did it with safely formulaic hard rock full of layered, operatic vocals and soaring guitar parts. Stryper may proclaim Jesus as its savior, but the group sounds more like a disciple of the rock band Boston and its leader, Tom Scholz. Lyrics that are sloganistic, simplistic and dogmatic don’t help.

The Noize Toys, “Fallin’ in Lust . . (. . Again)” (Dr. Dream). The Orange-based Dr. Dream label put out its share of classy records in ‘88, so it can almost be forgiven this unrelenting, insipid paean to the crotch. Perhaps dull, stupid formula-metal like this is what’s needed to subsidize the artistry of De Jarnett, National People’s Gang, the Swamp Zombies and El Grupo Sexo.